The Ontario government has formally declared its intention to outlaw the resale of tickets for live events at prices exceeding their original face value, marking a significant legislative move aimed at reforming the province’s ticketing landscape. Premier Doug Ford announced that this upcoming legislation will make it illegal for tickets to concerts, cultural performances, sporting events, and other live gatherings to be resold for more than their initial cost, a decision poised to reshape how Ontarians access entertainment.
This bold policy initiative is positioned as a direct response to widespread consumer frustration over inflated prices on secondary markets. Premier Ford underscored the government’s commitment, stating emphatically on social media, "We’re putting ticket scalpers on notice: Your days of ripping people off are done." The sentiment was echoed by Stephen Crawford, Minister of Public and Business Service Delivery and Procurement, who highlighted the protective nature of the proposed measures. "With these new measures, consumers would no longer need to worry about being ripped off in the ticket resale market, and more families and fans would have the opportunity to see their favourite band or sports team perform live," Crawford affirmed in an official statement.
Addressing a Long-Standing Consumer Grievance
For years, the issue of ticket scalping has plagued consumers, artists, and event organizers alike. The rise of online secondary ticketing platforms, while offering convenience, has also facilitated a robust market where professional resellers, often employing sophisticated bot technology, snap up large quantities of tickets within seconds of their release. These tickets are then relisted at exorbitant markups, often reaching several times their original face value, making popular events inaccessible to average fans and siphoning profits away from artists and venues.
The Ontario government’s proposed legislation aims to curb these "exploitative, professional resellers who artificially drive up ticket prices," ensuring that residents have a fairer opportunity to attend live events across the province. Beyond the price cap, the government also intends to "strengthen validity guarantee requirements" to shield buyers from counterfeit tickets, a persistent problem in the secondary market, and to eliminate "unfair service fees" that often inflate the final cost of tickets during the purchasing process. This multi-pronged approach suggests a comprehensive effort to restore integrity and fairness to the ticketing ecosystem.
Industry Reactions and Implementation Challenges
The announcement has garnered a generally positive reception from segments of the Canadian music industry. The Canadian Live Music Association (CLMA) expressed its support for the new law, acknowledging the critical need for reform. However, the organization also cautioned that the success of the legislation would hinge significantly on its effective implementation and enforcement. "The effectiveness of any new framework will depend heavily on how it is enforced, and we are pleased to see new enforcement tools introduced," the CLMA stated. They further emphasized the potential pitfalls: "Without clear, consistent, and well-resourced enforcement, there is a real risk that bad actors will adapt in ways that undermine the intent of these changes."
The CLMA has committed to collaborating with the Ontario government to ensure the measures are "practical, enforceable and effective for both fans and the live events sector." This highlights a crucial aspect of such legislation: the delicate balance between consumer protection and the potential for a black market if enforcement is lax. Jurisdictions globally have grappled with similar laws, with varying degrees of success. Some European countries, for instance, have strict anti-scalping laws, while in parts of the United States, secondary markets operate with fewer restrictions, leading to ongoing debates about market efficiency versus consumer access.
The timing of this announcement is particularly pertinent, coinciding with major upcoming events such as the FIFA World Cup, which is scheduled to bring a significant influx of visitors and demand for tickets to Toronto in June 2026. This high-profile event could serve as an early test case for the new legislation’s effectiveness and the province’s commitment to robust enforcement.
Canada’s Music Industry: A Decade of Growth and Global Standing
While Ontario addresses the live event ticketing market, the broader Canadian music industry continues to demonstrate remarkable resilience and growth. For the eleventh consecutive year, Canada’s recorded music revenues saw an increase in 2025, according to the newly released Global Music Report by the International Federation of the Phonographic Industry (IFPI). This sustained growth underscores the robust health of the Canadian music market, despite global economic fluctuations.
The annual IFPI study, which provides a detailed analysis of global music market trends, revealed that Canada experienced a notable 5.6% increase in recorded music market growth last year, reaching a total of $957.9 million. This figure represents a significant rebound compared to the previous year’s findings, which had flagged a relatively smaller growth of 1.5% to $660.3 million USD. The 2024 figures, however, were influenced by an unusually high 2023, boosted by a substantial one-off performance rights revenue payout. Despite this impressive revenue peak, Canada saw a slight dip in its global ranking, moving down one spot to become the ninth-largest market worldwide.
Streaming Dominance and Physical Media Resurgence
Patrick Rogers, CEO of Music Canada, the trade association representing Canada’s three major record labels, expressed pride in the country’s performance. "We do punch above our weight," Rogers stated, attributing this success to "strong copyright laws and strong fundamentals in the marketplace." Both Music Canada and the IFPI credit the pervasive influence of streaming services as a primary driver behind this sustained growth.
Streaming revenues, across all platforms, saw an overall increase of 4.5%, reaching $747 million. Within this segment, subscription streaming, which offers ad-free access and higher audio quality, grew by 3.4% to $598.5 million. Ad-supported streaming, encompassing both audio and video platforms, also demonstrated healthy growth, rising by 9.4% to $148.3 million. This data highlights the continued shift in consumer behavior towards digital consumption models, with premium subscriptions driving the largest share of revenue.
Interestingly, amidst the digital surge, physical music formats also experienced a significant resurgence. Sales climbed by an impressive 15.9% to $122.2 million, primarily driven by the renewed popularity of vinyl records, alongside steady sales of CDs and other formats. Rogers contextualized this growth, explaining that while these are substantial figures, they cannot be directly compared to the era of widespread piracy in the late 1990s and early 2000s, which severely depressed physical media sales. He noted that nearly three decades later, streaming has made music universally accessible, leading to a cultural shift: "Canadians have revalued the value of music to a point in which people are happily paying for music again." This suggests a mature market where consumers are willing to invest in both digital convenience and tangible, collectible formats.
AI’s Transformative Impact and the Call for Creator Protection
Beyond market revenues, the Canadian music and cultural industries are increasingly focused on the transformative, yet complex, role of artificial intelligence. This critical conversation took center stage at the National Summit on Artificial Intelligence and Culture, a three-day event held in Banff, Alberta, from March 15-17. Co-hosted by the Banff Centre for the Arts and Creativity and the Canadian government, the summit brought together 300 leaders from various cultural and technology sectors to deliberate on the future of creativity in an AI-driven world.
A significant contingent from the music industry was present, including representatives from key organizations such as Music Publishers Canada, SOCAN (Society of Composers, Authors and Music Publishers of Canada), and Music Canada. These organizations have been at the forefront of advocating for fair compensation and robust copyright protections for artificially generated works, recognizing the profound implications AI holds for creators.
Industry Alignment and the Voice of Experience
Patrick Rogers, CEO of Music Canada, underscored the unity within the industry on this issue. "It’s been nice to see the industry aligned," he remarked. "Everyone’s talking to government from different perspectives, but from the same goal: we know that copyright is part of AI, and that part of the solution to getting proper licensing is based in transparency." This collective voice emphasizes the need for clear regulations that ensure creators are recognized and compensated when their works are used to train AI models or when AI generates new content based on existing copyrighted material.
A highlight of the summit was a remote address by Björn Ulvaeus, President of CISAC (the International Confederation of Societies of Authors and Composers) and an iconic member of the Swedish pop group ABBA. CISAC, a global network comprising 227 member societies in 111 countries—including SOCAN in Canada—represents over 5 million creators across music, drama, literature, and visual arts. Ulvaeus, a vocal advocate for creators’ rights in the digital age, delivered a powerful message about the necessity of protecting human creativity amidst the rise of AI.
"If we want human creativity to thrive in the age of artificial intelligence, we must ensure strong protections for creators," Ulvaeus asserted. He specifically cautioned against "broad text and data mining exceptions that allow works to be used without permission or payment." This stance aligns with the position articulated by Margaret McGuffin of Music Publishers Canada, who previously argued that existing copyright legislation already adequately addresses AI-related issues and should not be diluted to accommodate "disruptive" tech companies. "There is no grey area," McGuffin stated in an earlier interview. "People who say there is don’t want to license. They want to avoid paying."
Ulvaeus emphasized that the cultural sector is not fearful of AI but rather seeks a path forward characterized by caution, fairness, and transparency. He recounted a meeting with Canadian Prime Minister Justin Trudeau in November, where he highlighted how robust copyright protections were instrumental in ABBA’s global success. This historical perspective serves as a reminder of the foundational role of intellectual property rights in fostering creative industries.
Government’s Proactive Steps and Future Outlook
In response to the growing concerns and the critical discussions at the summit, the Canadian government announced a significant commitment: the establishment of an AI and Culture Advisory Council. This council will be co-chaired by Ministers Evan Solomon and Marc Miller, and will comprise 12 rotating members drawn from both creative and technology fields. The council is slated to meet twice a year, ensuring ongoing dialogue and expert input as the government prepares to launch a comprehensive national AI strategy.
This proactive step by the Canadian government signals a recognition of AI’s dual potential—as a powerful tool for innovation and as a significant challenge to existing creative and economic frameworks. The advisory council aims to bridge the gap between technological advancement and the protection of cultural heritage and creators’ livelihoods, fostering an environment where AI can enhance, rather than diminish, human creativity. The outcomes of this council will be crucial in shaping Canada’s approach to AI, potentially influencing global standards for copyright in the age of artificial intelligence.
Taken together, these developments paint a dynamic picture of Canada’s engagement with the cultural and entertainment sectors. From safeguarding live event access for fans in Ontario to celebrating sustained growth in recorded music and actively shaping the future of creativity in the face of AI, Canada is positioning itself at the forefront of critical discussions and policy innovations in the global entertainment landscape.